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What Is The Last Score You Listened To?

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#2881 Chaac

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Posted 15 March 2012 - 07:05 PM

I used to listen to that score again and again, but I haven't for at least two years. Time to go to Skull Island.

#2882 crocodile

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Posted 16 March 2012 - 10:41 AM

War Horse and Tintin

They're pretty damn good. ;)

Back to Gaya

Lovely score. Even though, it more plays like a tribute, Michael Kamen's ghost is looming over it, clearly.


Right now listening to the 100 minutes of alternates from Ben-Hur. I've separated the whole set into five playlists: The film score, three LP albums, and the alternates. That's the best way to listen to it, I think. What's surpsrising these alternates almost create a score album of their own. And very good one at that.

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"Modern, serious music has become embroiled in an intellectual discussion that has no place in music. Certainly, the great composer of the past were geniuses and used their intellect, but only to serve their emotions and guide their craft. Not to dictate to them what they should or shouldn't write" - Michael Kamen, 1995

#2883 indy4

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Posted 18 March 2012 - 08:28 PM

Young Bess - Miklos Rosza
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#2884 crocodile

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Posted 18 March 2012 - 08:58 PM

Never heard that one. Is it good?

Karol
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"Modern, serious music has become embroiled in an intellectual discussion that has no place in music. Certainly, the great composer of the past were geniuses and used their intellect, but only to serve their emotions and guide their craft. Not to dictate to them what they should or shouldn't write" - Michael Kamen, 1995

#2885 E.T. and Elliot

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Posted 18 March 2012 - 08:58 PM

Beautiful 70 degree day. I felt no shame driving home blasting the EPCOT 1982 entrance medley with the windows down. Late afternoon, I layed out under the sun in the bed of my truck listening to War Horse. It's a good score, but it's by no means a favorite JW. I know that now.

#2886 indy4

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Posted 18 March 2012 - 09:16 PM

Never heard that one. Is it good?

Karol

I am by no means a Rozsa expert, but it's enjoyable enough. I bought it mostly for the variation on Dies Irae in the track titled "Dies Irae," and that's still what I like best about it. But the rest of the score is pretty good, too. Can't say I've given it enough attention to really understand the score or review it properly, but it's a pleasant listening experience.
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#2887 Joe Brausam

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Posted 19 March 2012 - 12:06 AM

http://www.amazon.co...32115457&sr=1-5

Get this, indy4. It has a wonderful brass/organ suite from Young Bess, about 15 minutes long. It has a nice development of the Dies Irae material in the suite.

#2888 indy4

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Posted 19 March 2012 - 12:33 AM

Thanks! I think you've told me about this before. It's on my "to buy" list, but it probably won't happen for awhile given all the other stuff that's also on the list.

Just listened to Philip Glass' 1000 Airplanes on the Roof. This is probably my favorite work by Glass, it's fantastic. The climax in "Where Have You Been Asked the Doctor" is chilling.
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#2889 E.T. and Elliot

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Posted 20 March 2012 - 12:33 AM

Joel McNeely's Hall of Presidents score is phenomenal. Listening to a crappy bootleg recording of the pre-show. Intrada should release this.

#2890 indy4

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Posted 20 March 2012 - 06:30 AM

On The Town - A great first listen. I hear some welcome foreshadowings of West Side Story and Candide. What a fun score, I cannot wait to get to know this better.
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#2891 alicebrallice

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Posted 20 March 2012 - 06:59 PM

the social network - trent reznor & atticus ross

ugh, what an appallingly bad score it is. 'hand covers bruise' has grown on me, though.

#2892 Jay

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Posted 20 March 2012 - 07:00 PM

its still WAY better than their dragon tattoo score

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#2893 alicebrallice

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Posted 20 March 2012 - 07:11 PM

I'll have to watch the movie and get back to you on that one.

did you prefer the swe or us version btw?

#2894 Jay

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Posted 20 March 2012 - 07:13 PM

Never seen the swedish film, but it looks pretty boring

The Fincher film was terrific

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#2895 crocodile

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Posted 20 March 2012 - 07:13 PM

They're both lame to be honest.

Karol
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"Modern, serious music has become embroiled in an intellectual discussion that has no place in music. Certainly, the great composer of the past were geniuses and used their intellect, but only to serve their emotions and guide their craft. Not to dictate to them what they should or shouldn't write" - Michael Kamen, 1995

#2896 alicebrallice

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Posted 20 March 2012 - 07:26 PM

Never seen the swedish film, but it looks pretty boring


pffft..... well "our" score is way better.



#2897 Matt C

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Posted 20 March 2012 - 07:35 PM

pffft..... well "our" score is way better.

http://www.youtube.com/watch?v=zgow82BYvpQ


You are so right on that one. So gorgeous.

#2898 BloodBoal

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Posted 20 March 2012 - 07:38 PM

its still WAY better than their dragon tattoo score


It's like saying dog poop is better than cat poop. In the end, it's just poop.

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#2899 Jay

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Posted 20 March 2012 - 07:43 PM

I like the NIN album Ghosts I-IV better than either

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#2900 Wojo

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Posted 20 March 2012 - 10:57 PM


its still WAY better than their dragon tattoo score


It's like saying dog poop is better than cat poop. In the end, it's just poop.


Dogs don't eat their own, but a cat's poop is like a candy bar.

#2901 alicebrallice

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Posted 20 March 2012 - 11:02 PM

Dogs don't eat their own, but a cat's poop is like a candy bar.


dafuq did I just read?

#2902 Wojo

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Posted 20 March 2012 - 11:05 PM

If you had a dog, you'd know it to be true.

#2903 crocodile

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Posted 21 March 2012 - 12:44 AM

John Carter by Michael Giacchino

Now this is the score that I wanted Star Trek to be. Giacchino has finally pulled it off. He finds a right balance between his more gritty and dry voice of late and a big heart of his animated scores. Reminds me a lot of early Arnold. A bit better recording helps as well. I like both Super 8 and Mission: Impossible 4, but this one is better than both of them combined.

Karol
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"Modern, serious music has become embroiled in an intellectual discussion that has no place in music. Certainly, the great composer of the past were geniuses and used their intellect, but only to serve their emotions and guide their craft. Not to dictate to them what they should or shouldn't write" - Michael Kamen, 1995

#2904 Matt C

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Posted 21 March 2012 - 12:47 AM

There Be Dragons (Warbeck and Folk)

I prefer Robert Folk's score for the international version, but Warbeck's original score is no slouch either. Folk emphasizes the drama with more emphasis on the guitar, which gives it such an irresistible flavor. Warbeck's is more restrained and subtle (hardly any guitar or any period instruments), and feels more at home in a John Madden film (like The Debt, which he did not score).

#2905 Eblobulator

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Posted 21 March 2012 - 06:29 PM

Yesterday I listened to the complete score for Superman Returns. I know this score gets a lot of flak here but I for one love it. I had not listened to it in a while and forgot how wonderful it is.

     GAC2.jpg

 

Kathryn Janeway: "Time travel. Since my first day on the job as a Starfleet Captain I swore I'd never let myself get caught in one of these godforsaken paradoxes - the future is the past, the past is the future, it all gives me a headache."
 

#2906 KK.

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Posted 22 March 2012 - 12:21 AM

Schindler's List

I don't know why, but I was kind of in the mood for this today, so I popped in the CD, and I'm taken away as usual...

#2907 Matt C

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Posted 22 March 2012 - 02:04 AM

Mercenaries - Tilton/Giacchino

I know Giacchino just wrote the theme for this, and Tilton wrote the rest but man... this is great stuff and better than Giacchino's Secret Weapons Over Normandy (and a lot of Giacchino's live-action output, including John Carter). The action music is plenty, but diverse enough so it doesn't grate. "Hidden Valley Bunker", "Swedish Fireballs" and "Countdown" are among the many highlights in this album. I don't know if it's just me, but overall this is a great effort by LLL.

The Northwest Sinfonia did such a good job performing this score (maybe Giacchino and Tilton should use them more often, hint hint). And thanks to someone else handling recording duties, Dan Wallin's mixing isn't bad at all.

#2908 lonzoe

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Posted 22 March 2012 - 03:18 AM

La La Land Records Batman Forever

#2909 Richard

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Posted 22 March 2012 - 11:55 AM

The Intrada "ALIEN". O.k., o.k., so I substituted the LP "main title" for the film version (I just prefer the latter), but this is without a shadow of a doubt, the scariest score I have EVER listened, and the images that it conjured up made me have bad dreams...again!
Sometimes it doesen't even sound like music, rather, it sounds like orchestral wretching. This is an absolute shining jewel in a very large crown!

#2910 Taikomochi

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Posted 22 March 2012 - 05:35 PM

the social network - trent reznor & atticus ross

ugh, what an appallingly bad score it is. 'hand covers bruise' has grown on me, though.


I did hate it too, at first. But it did have a weird growing effect. I think regardless of how good it is as music, it works fantastically in the film, particularly in the first 15 minutes of the film. I enjoy listening to the score on that basis alone.

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#2911 hornist

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Posted 22 March 2012 - 05:42 PM

I would love to see The Social Network but I won't because I hate all the music by these two gentlemen.

#2912 Stefancos

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Posted 22 March 2012 - 05:44 PM

The score does not play very loudly in the film. A lot of the time you don't even notice it.

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#2913 hornist

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Posted 22 March 2012 - 05:45 PM

Ok, I'll watch it.

#2914 Taikomochi

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Posted 22 March 2012 - 05:46 PM

The score does not play very loudly in the film. A lot of the time you don't even notice it.


A lot of that is probably attributable to how much of the score is just bland ambience, which, admittedly, is pretty lame. However, the moments of the score that shine greatly enhance the film, particularly those opening 15 minutes. They kick ass, and I'm certain that's how it won its oscar.

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#2915 BloodBoal

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Posted 22 March 2012 - 07:41 PM

I would love to see The Social Network but I won't because I hate all the music by these two assholes.


Fixed.

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#2916 hornist

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Posted 22 March 2012 - 07:54 PM

Amazing thing is that is EXACTLY what I fist intended to type!!!!

Scary :eh:

#2917 BloodBoal

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Posted 22 March 2012 - 08:07 PM

I can read minds.

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#2918 KK.

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Posted 23 March 2012 - 12:42 AM

Thats a scary thought. I don't want you in my head!

Begone, foul demon!

#2919 BloodBoal

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Posted 23 March 2012 - 06:09 AM

Thats a scary thought. I don't want you in my head!

Begone, foul demon!


I knew you would say that!

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#2920 Incanus

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Posted 23 March 2012 - 06:11 AM

Sleepy Hollow by Danny Elfman: Without a doubt my favourite Elfman score. Everything seems to fall into place in this one. The gothic darkness, the sweeping drama and romance, the macabre comedy and furious and relentless action are all present. And while the score is mostly monothematic the composer winds the melody through a fantastic set of variations, the main theme commenting the action as need be, working as a curtain opening herald of doom or transforming into a love theme interlude or becoming ghostly, childlike and playful. There are two or three accompanying motifs Elfman weaves between the strains of the main theme with regularity, the Mystery and Foreboding theme that seems to be everywhere in this score, informing almost all events in Sleepy Hollow, the short exclamatory Headless Horse Man motif swooping down on the listener as relentlessly as the character and the Riding motif making a couple of appearances underscoring, you guessed it, scenes where the Horseman pursues his victims.

The whole mood of this score is darkly romantic and Elfman eschews from outright horror music for the most part, his thematic ideas always anchoring the music in firm melodicism. As said above the main theme runs through an impressive array of permutations, keeping the music fresh and interesting throughout. Deep and weighty orchestrations offer melodramatic musical exposition to the unfolding gruesome events, lower woodwinds and brass often performing renditions of the secondary themes underneath the action. The action music itself is relentless and vicious, blaring and hammering, the orchestra and chorus attacking the listener brutally but always dancing on the fine between listenable and draining but never straying on the latter side as Elfman cleverly interpolates his themes into the mix and keeps the musical carnage engaging.

The album is well compiled, containing all the major sequences from the film in near chronological order which makes for a strong musical narrative. There is always enough breathing space between the heaviest action setpieces so that the listening experience does not wear you out and steadily builds towards a big finale containing yet again Elfman's classic Final Confrontation track. The gothically rich and romantic musical ideas capture the imagination, clever orchestrations and use of chorus all enhance this overall atmosphere. Here Elfman shows how horror can be done in style and scope.

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"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-






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